SPOT: Brian Jonestown Massacre | Phoenix Concert Theatre | 06.02.10
When Ondi Timoner’s explosive documentary Dig! came out in 2004, I was hooked. Everybody had heard of the Dandy Warhols, having been flung into mainstream success with the poppy anthem “Bohemian Like You”. If you weren’t listening to the radio anymore, any trip to your favourite watering hole with a relatively current juke-box selection and at least one or two inebriated patrons with too many coins in their pocket would ensure you didn’t survive the evening without hearing this little ditty. Probably more than twice. In short, this song was everywhere.
But who the hell were these other guys?
The documentary: drawing the line between genious and bat-shit insane
The critically acclaimed documentary follows the developing careers of two bands, the Dandy Warhols and The Brian Jonestown Massacre and the bands’ respective frontmen Courtney Taylor-Taylor and Anton Newcombe. On the one hand, the Dandys come across as a fairly vanilla outfit, interested in sealing a record deal and “making it big” in the way every suburban kid in a band dreams to come true. On the other, comes a portrait of Anton as an uncompromising and decidedly bat-shit insane musical genius who is notoriously hard to work with and takes no prisoners. While the Dandys concern themselves with navigating the record business and attempting to get a deal, the BJM seem more preoccupied with just keeping the whole damn thing together. With an ever revolving door of members (allegedly over 40 in a ten year span), the constant in-fighting, the drug fuelled jam sessions and chaotic live appearances, it was nothing short of a miracle that these characters could keep anything together let alone release three (!!) albums in one year. If the Dandy Warhols were making Rock ‘n Roll, the Brian Jonestown Massacre were living it.
Amidst all the insanity came some pretty cool neo-psychedelia and 60s garage punk revival—sounds from an era where the vibe matched the unhinged methods of the band. It became obvious that while Taylor-Taylor was noticeably more level-headed than his counterpart, he was, in fact, a dweeb. More interesting was the story of the BJM. While both came across as complete egomaniacs, Anton’s insanity gave him legitimacy while Courtney seemed just plain old pretentious. With sales representing the barometer of success, the Dandys, in the end “make it” while the BJM are left to toil in relative obscurity. The film concludes, without a hint of irony, that the Dandys “made it” as they are really Big In Japan. Or was it Greece? In other words, besides a few singles, it’s hard to really quantify what that level of success is. The BJM, with minimal radio play, garnered more of a cult status among fans.
Post show mortems
It became apparent from anyone who had seen the film, that it wasn’t enough to just hear BJM, at the time offering all their music free to download online. You needed to see these bastards live. And seeing them live cannot be described as a concert; it must be described as spectacle. With the BJM it was never just about the music, it was about the method, and at the live show the music takes a back seat to the madness. As an experience, the audience is integral to the process. It’s an exercise in sadomasochism. The audience hopes, given the reputation of the band, for the price of a ticket, they will witness the final collapse the Brian Jonestown Massacre. The audience hoots and hollars, hurling creative verbal missives such as “you suck” and “fuck you” at the band and Anton specifically. He is goaded, prodded and abused by the audience in the hopes of evoking a final and destructive reaction from the singer. In turn, the audience may be treated to an argument among band members, a refusal to continue playing, a nine-minute “solo” comprised only of the sound of a lonely kick-drum while the band goes outside for a cigarette. Anton takes his abuse and the audience delights in their respective punishment. The ultimate reward, one supposes, would include a John Lydonesque spitfest, a swift boot to the head from the legend himself, or at absolute best, an epic meltdown marking the band’s Final Show.
So what should we expect after all these years? Who cares.
Five years later, the band is returning to Toronto to play a show at the Phoenix on June 2. The once prolific band seems to have slowed down considerably. With only two major releases in 6 years, where has the band’s time and energy been directed? Perhaps uncomfortable with his portrayal in the film, something which has been well-documented elsewhere, Anton seems to have taken a less visible role in the band. As noted, the last two albums have featured several guest singers, putting less emphasis on Anton and placing more focus on the music itself. Anton has taken a Step Back, if you will. Is it for the better? With the return of founding member Matt Hollywood, and a new record that sounds more Thievery Corporation than it does Rock ‘n Roll, one question still haunts: Are the BJM dead, and if so, does anyone really care anymore? You decide.
Brian Jonestown Massacre returns to the Phoenix Concert Theatre on Wednesday June 2. Tickets $21.50 +Taxes and SC.
BY: JAMES O’SULLIVAN
6 comments April 6th, 2010
